Giotto "finxit". Figurazione, rappresentazione degli edifici e illusionismo dei materiali nella pittura di Giotto

• Autores: Gaetano Curzi
• Localización: Rivista d'arte: periodico internazionale di storia dell'arte medievale e moderna, ISSN 1122-0732, Nº. 1, 2011, págs. 3-38
• Idioma: italiano
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• Resumen

  • This essay focuses on the illusionistic features in the work of Giotto and especially on the artist's ability to simulate in his paintings objects made in various materials and with different techniques. These items are placed within an image as if they were a quotation, in a sort of challenge to the senses, reminiscent of the great painters of Antiquity, celebrated by the classical authors, notably by Pliny.

    This is a procedure already found in Franciscan stories in the Upper Basilica of Assisi, in which the final episode is analysed with particular attention: the Liberation of Pietro D'Alife.

    This method, however, has its most complete expression in the frieze running below the frescoes in the Scrovegni Chapel at Padua, in the false relief representing the Vices and the Virtues: the author suggests a new interpretation of this, based on the two allegorical figures represented within clipei above the side door and on the nearby personifications od Foolishness and Prudence.